Sean Ae
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Everything posted by Sean Ae
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is it strange to either of you guys to see the corporate world appropriating the style of imagery presented in Gantz Graf? I'd imagine it would be somewhat off-putting to create something as amazing as the Gantz Graf audio/visual presentation and have hundreds of knockoffs being used in anything from a car commercial to a scene in a bad hollywood film. this takes me to another question though, what does it feel like to have a ton of people imitating your styles? Was there a conscious decision to just go so ahead of the curve that no one could possibly predict or emulate the future of AE? Or did this just happen on its own (because that's where you are now). nah not strange at all in fact i think alex's graphics work suits that environment, in a good way cos that he's pushed it so far it makes it something else if alex was actually designing corporate presentations they would be fucking excellently done but yeah i mean sometimes people think they hired someone to appropriate something and they get the result and they can't tell it's like a totally shit version of the thing they asked for like the robots in I, Robot, imo they are like a really shit ripoff of the bjork robot, but the director/producers prob couldn't see how badly done it was so it got used i don't mind if people want to adapt what we've done (in principle) at all. whether i like the music is a different question tho we never thought we were being ahead of other people, we've always felt like we are making music for here and now
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i always liked them tho even when they were doing more normal stuff, there was always a kind of sophistication to it, or elegance or something
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yeah i have pretty constant hf tinnitus and occasionally i will get either a kind of rippling bass sound or like a 70% reduction, both of which can last for anything from a few seconds to a few hours, and then seem to clear up by themselves. i found that listening to computerworld by kraftwerk seems to make them go away faster. not joking there, it works for some reason. prob cos it's a neural feedback thing, i think i'm shoving something in the feedback path and kind of washing it out.
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i had a guy round fixing my boiler a couple of years ago when i was doing tac lacora so i played him that cos he was asking he just said 'who listens to this then? loads of guys sitting in their houses smoking weed?' and i went 'yeah, pretty much' So you worked on tac lacora for several years? Impressive. Do you always take time to get a distant view on tracks before you know what you did there and release them or do you just work on them very long? nah it was done in a week or so, i was playing him the edit the original live jam was done in a few hours tho, a few months before that
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some nice harmonies and the bit where she sings low is well trippy
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nah i'm listening to stuff other people's
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not really, most people don't have a clue. it's not like we get recognised in the street
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we just went record shopping and hung out with mark a lot (we'd not seen him in years so was really nice to catch up)
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lel i dunno if they obscure it at all tbh, everyone knows jeez yeah i mean i get what you're saying but the new guys have their own slant on stuff, and i bet if u asked them they'd jump at the chance to show respect to muslimgauze or zf or nurse with wound etc the wire, i mean i dunno man they need to shift magazines i'm not gonna slag them off for that i quite like some of zomby's stuff
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i would never fuck with moby we did meet him in nyc once at one of our gigs but it was a bit weird, i think the other guys we were hanging with didn't like him i reckon he gets more shit than he deserves tbh not that i listen to his music go was good tho
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lot of loaded questions here tbh but i'll say this we've been blagging sounds for years, way way before we heard anyone using the term physical modelling even just using a 202 you can make really mad 'bonk' sounds by tuning the resonance and using the res env a certain way (think of voodoo ray by gerald) not implying we were the first at all obviously, wendy carlos and tomita were running rings round anything we did before we even knew what music was but like, there are literally tons of ways you can make fake things out of other things. this idea that physmod is only a few techniques is a bit of a new thing really. but i guess describing those things an non-linear processes is a bit much for some people you can make a wide array of vowel sounds using a combination of pwm and fm, but it's only considered formant synthesis is you're using a collection of bpf's the actual list of techniques that you're supposed to learn is weirdly limited and doesn't really cover what's possible. in a lot of ways things were more interesting before it all got formalised that's why wendy carlos and tomita are so good, cos they didn't have that list of techniques getting in the way, they found most of it thru trial and error
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i reckon the stuff martin gore and alan wilder did together is basically some of the best songwriting ever not that i do stuff like that, or want to really, but i love it
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i had a guy round fixing my boiler a couple of years ago when i was doing tac lacora so i played him that cos he was asking he just said 'who listens to this then? loads of guys sitting in their houses smoking weed?' and i went 'yeah, pretty much'
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interesting, because Exai has a distinctly more 'analog' sound, if it's mostly digital you guys did a great job of making it sound the opposite, at least all the synth work. Are there soft-synths you guys have an affinity for? I've noticed you mention FM7 a few times, how about some of the newer ones like Madrona Labs Aalto? Also thanks for the confirmation on the Autechre patch, there are an army of cycling74 employees trying to claim it's not a real patch or as some would say a 'hoax'. The patch made me realize just the lengths you guys go to get that perfect timbre. No matter how many times or different ways I've tried drum stuttering/rapid fire sounds, they never have that pleasurable timbre quality you guys mastered so well during the Draft/Confield era. Do you guys enjoy any of the other artists on Isolate Records besides Vsnares and OST/Dalglish, specifically Nommo Ogo or Tomoroh Hidari? And what's your favorite album or work by Mick Harris aka Scorn? a lot of the stuff around draft time was done in dp, just triggering a sampler from the sequencer (akai z8 over midi) - the motu midi interface we were using was really fast so you could mad rolls with it. we'd do tuned rolls and then copy them and multiply the length of the roll by 1.05946 incrementally to make it play melodies. interesting, so that max/msp patch which appears to be 'stuttering' a real-time synthesized bass drum sound and turning it into a melody was not a technique used in Confield or draft? Was it used in anything specific you can remember? I feel like i hear some aspect of it in the Confield tour recordings. Your response about recordlabelrecords appears to have been edited out and/or blank, any followup on that? i'd be happy to endure the mysterious mind fuck though too if you don't want to answer was Recks On in Exai an intentional Mick Harris/Scorn homage? Or if it wasn't planned I guess my other question would be, just how much Scorn are the two of you listening to these days? I'd like to think a lot. nah that patch was just an exercise in using phasor in a kind of slightly fractal way i haven't heard much stuff on rlr soz, feel free to link me to some tho nah recks on is an 80s hip hop homage, that emu snare is on loads of hip hop records, and the booming 808 etc. more of a shout to meat beat manifesto, renegade soundwave, keith leblanc, duke bootee etc but i can see why someone who doesn't really listen to 80s hip hop but listens to scorn might think that
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super linear stuff works well i like basic channel, chain reaction, acid tracks (actual acid tracks not people making techno songs on a 303)
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god no they were absolutely shit renoise
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yeah it's our remix of various artists http://www.discogs.com/Various-Artists-Remixes/release/13017
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they were done in our studio as a chunk of tracks, i.e. we got the request and then did the tracks one after another
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tbh it's only frustrating in a third party kind of way like, if i'm seeing someone trying to explain to someone else what's good about a track and they end up resorting to ill-fitting metaphor or cliche-speak but in terms of us, and process, or playing rob stuff, nah, u can just tell if someone is getting it, there are a ton of unconscious signals i think. or i feel, i mean
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nah u know what, i only read about that on here like a week or two ago i haven't even heard it obv. it's a huge fuckup as i'm guessing they shifted a few of them by now i dunno i guess we were reacting a bit to everyone asking why the japan only tracks were always a bit rubbish more into finding things than making ersatz versions of imagined things So if you have a work in progress track where you can totally hear in your head a sound design idea for that track that would make it a killer track you would not try to make it real? i might but if i got sidetracked and ended up making something different then i would see that as a good thing
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the director was obviously implying that gender is a social construct
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more into finding things than making ersatz versions of imagined things
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i might start out making a specific thing but then i get distracted by an idea for something else do it becomes the new thing i don't really care if i get to finish the thing i started everything is continuous basically, there is no recording as such, just a stream of data being generated strictly it's no worse for wrist burn than anything else, i use a massive trackpad, ymmv how it differs from osc? hugely, it's not packet-based for a start your micro modular is now called miranda your octatrack is now called waterwaterwaterwater
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mic soldering iron mpc1000 rs integrator
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that's the nord rack
